Understanding the construction of a set-in-sleeves sweater

In several of my patterns, I use set-in-sleeves or set-in sleeves to knit top down.

Over time, I improved the method: first by mounting the sleeves separately and then by mounting the sleeves at the same time.

Let's take a closer look at this construction method.

1. Construction with sleeves fitted afterwards

This construction starts with the back: you first build the back starting from a provisional assembly or for perfectionists, a French assembly to avoid a half-stitch shift when you pick up the stitches to form the fronts.

1.1. Let's dissect the construction

You will therefore knit flat and from the top of the neckline to the bottom of the armhole.

To get a nice shoulder curve (because yes, shoulders are not straight unless you are a man with an impressive build), you will play with shortened rows on each side of the neckline to form a slope.

Once the back is finished, you will then return to each side of the neckline (which is often marked with markers) to work the fronts separately. These fronts will either be worked one after the other down to the bottom of the armhole if you are making a cardigan, or worked one after the other and then joined together to close the front.

You will therefore end up with a front and a back worked flat, front worked in one direction from the provisional assembly and back worked in the other direction.

1.2. A diagram to help you?

Hmm, I see I'm losing you... what if I showed you a picture? Does that make it a little clearer?

The temporary assembly is represented by the central line, the bottom of the drawing represents the back and the top the front. Is it clearer this way?

Once this front(s) and back(s) are finished, you will join the fronts and backs together to work in the round if it is a sweater and flat if it is a cardigan.

1.3. And the sleeves?

But you might ask, what do we do with the sleeves?

In classic top-down raglan or circular yoke constructions, the sleeves are worked at the same time as the upper body yoke (before the sleeves are separated).

This will not be the case in this particular type of construction unless you work the sleeves at the same time – I will tell you about this method later.

The sleeves will then be worked on, therefore “set in”.
In the case of Margaux, the vest is close to the body and the sleeves need to be set up at the shoulder head.

If you've done any sewing, you'll know that a sleeve head can't be flat; it's rounded to follow the curve of the shoulder head.

First, you will pick up all the stitches along the armhole and knit in the round.

Then you will have to work the top of the sleeve with shortened rows, this is what will give the “sleeve cap” or the “sleeve head”.

In the case of Broadford, Calm Vibes or else Alpine Valley, The sleeve head is not present because the top of the yoke covers the top of the shoulder. You will not have to work short rows, you will simply have to pick up the stitches and work in the round to make the sleeve.

2. Set-in-sleeves construction with simultaneously set-in sleeves

This construction is more or less identical to the previous one but it requires a little more technicality.

I've refined it over time to avoid having to cut the thread regularly when making the top of the body.

The principle remains the same: You start at the back with a provisional cast-on. Then you do a few short rows to form the shoulder head.

To finish, instead of continuing to the armpits, you will pick up stitches on either side of the ribbing to form the shoulder cap and the fronts.

So quickly, once the fronts, backs and sleeves are placed correctly, you will end up with a construction almost identical to the “ contiguous". All you have to do is increase the sleeves.

You will find this method in the pattern Gustav and with a slight variation in my first large size pattern, Joan.

Set-in-sleeves construction can seem confusing at first. It requires knowledge of several techniques: provisional cast-on, short rows. However, it is the most morphological because it ideally follows the curve of the shoulders. It is also the most adaptable if you don't have an X-shaped silhouette.

I hope I have enlightened you with this short summary of this construction; a technique which is not new since Barbara Walker talks about it in her book “Knitting From the Top”.

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See you soon,

Christelle